The cutaway drawing and its artists

Ferrari Dino 246 1958.Cutaway artist: Franco Rosso (can anyone confirm this?).From "Quattroruote Speciale Ferrari F1"This is the only one without signature and the magazine gave credits for Cavara, Bruno and Giulio Betti and Franco Rosso for all the illustrations.All the other cutaways are signed by Cavara, Bruno and Giulio Betti, so...

Greetings..................Anders, not so much the Loobeetle (post 2054, image 2), looks more like the never produced VW Bog? "My apologies, I've been drawing cartoons all day & I'm more off than normal" Now a question for the true experts. "Why would the car be drawn with hoses that need replacing?" Look at the cistern return line & the two lines fitted to the pump. The handle on the muffler/silencer is a nice touch also. Cheers!!
Steve

Greetings..................Anders, not so much the Loobeetle (post 2054, image 2), looks more like the never produced VW Bog? "My apologies, I've been drawing cartoons all day & I'm more off than normal" Now a question for the true experts. "Why would the car be drawn with hoses that need replacing?" Look at the cistern return line & the two lines fitted to the pump. The handle on the muffler/silencer is a nice touch also. Cheers!!Steve

It took me a little while to get your meaning, b, but then I realized - the bulges! I think the answer is that back in the old days, when I were a lad, lead was a common plumbing material, and joints and connections were often reinforced with a build-up of solder. This was painstakingly smoothed whilst still semi-molten, with a moleskin pad and tallow, into a shape not unlike that of a snake that has swallowed an egg.

Firstly, i would like to thank all the members who have posted messages in this topic. I have passed all the last week to look and download all cutaways posted in the 51 pages. I love this kind of drawings and particulary theses of Tony Matthews... as some have already said, it is sad that you decided , Tony, to stop to draw....Anyway, thanks a lot to open your archives for all of us.

By way of thanks for all contributors, here come some drawings of the 1990 Ferrari 641/2:(it comes from a tamiya model box; the author is unknown of me ... if you know or have an idea....)

There are some noise , sorry for that (i was not very satisfied by noise filter of adobe element )I will try to delete it with c/v.

(Sorry for my bad english, i try to do my best ... with a robert collins within reach ! )

(Sorry for my bad english, i try to do my best ... with a robert collins within reach ! )

Your English is very good, elno! Tamiya artwork was always good, in fact most kit artwork is good, there are some oddities out there, but generally done to a high standard. The late lamented Gavin McLeod did many Airfix boxtops, and they were terrific, different in that they were airbrush, but he was a sublime airbrush illustrator and a Good Bloke.

I posted this a few days ago on the Technical Forum, where I go to be humiliated every now and then, (not that it is done deliberately, they are generally tolerant), but it belongs here more, so I am posting it again - my first solo engine cutaway, the Cosworth Chevrolet Vega F2 engine. It was a steep learning curve, I had only ever done little bits of some of Jim Allington's illustrations before, and then without really knowing what I was doing. I didn't have the basic engineering knowledge, and Jim's modus operandi was almost unfathomable, certainly very different to the process that I developed myself over the years, so being thrown into a half-finished engine cutaway when I didn't fully understand either the subject or the process was character-building...

Tony, ....................."Thanks" for the explanation. Now, can you explain the handle on the muffler? cheers, Steve

The muffler, or silencer as it was known in The Olde World, was obviously a top-of-the-range sterling silver job, crammed with palladium, nimobium, platinum, unobtainium and steel wool, the whole probably supplied by Harrods of Knightsbridge. Wire wool was much treasured by British housewives for long after the end of WWII, as it was particularly efficacious at removing nicotine from the fingers, and as women had learned to smoke as hard as their menfolk during the Blitz, this was a serious social problem.

As Gwendolyn Syrup said only the other evening, 'Tony, dear Tony, you cannot imagine how off-putting it is to see a gell plunge a dark brown finger into her Martini to hook out the olive...!'

Back on track - the mufflers were a prime target for the lower orders, so quick-release clips and a carrying handle were introduced, normally with an asbestos-lined velveteen duffle bag for convenience.

Tony.......Ta! I wrongly assumed that the motor was, simply, run in a reverse rotation, the flexible hose (exhaust pipe) was then yanked up into the car for a quick cleaning. On a serious note, any idea who the illustrator was ? I see the initials "BH" near the left rear tyre. My best to Gwendolyn. (Why isn't it later, the Glenfiddich is calling.)...........cheers,..................Steve

I see the initials "BH" near the left rear tyre. My best to Gwendolyn. (Why isn't it later, the Glenfiddich is calling.)...........cheers,..................Steve

Brian Hatton? It looks like his 'typeface' too, but it is, I think, quite an early drawing. His style changed a bit over the years, but it has his hallmark. Macoran will probably prove me wrong...

I would be giving Gwendolyn your best, and mine too, this very night, but as she says, 'Dear, dear Tony, I so enjoy your company, and that of all your friends, but every so often a gell likes to curl up with a pink gin or several and a good book. Tempus fugit, dear Tony, I am not as young as I was, and do not have the stamina that once I had. As dear, dear David Niven found to his cost, I was always - how shall we say? - a goer, and I remember him saying one evening after a week in my company - 'Jesus H Christ, Gwendolyn, how many more times?' Not an expression I am fond of, but he had spent a great deal of time in America with young Errol Flynn - a tiresome boy with very little charm, and poorly developed.'

So there you have it, another night on the Forum for me, untill she finishes her novel - hang on a minute, that's her ring-tone, perhaps she's finished early...

Tony.........At least Gwendolyn will ring you when she finishes her novel. After 27 years of marriage, "She Who Must be Obeyed" just continues reading her trashy novels.......non-stop. Like any good race team that I dealt with......."she's always equipped with back-ups & spares". Now you know why I lurk about here! As it is mid afternoon here, I had let Mr. Fiddich go to the answering machine.
Serious question here, " When doing any cut-away, is there much rendered totally freehand? Meaning, no straight edges, elliptical templates, etc.." I guess I mean, were there time that you needed to be more artist than technical illustrator?
cheers.......Steve

Tony.........At least Gwendolyn will ring you when she finishes her novel.

Steve, I may have a 'special relationship' with Gwendolyn, but that doesn't mean that I don't have to join the queue! I treasure the quieter moments with her in her Knightsbridge apartment, when the bone china and the Earl Grey are produced, and we can chat until late in the evening, sometimes well into the next day, by which time, of course, the tea will have been replaced by her favourit pink gin. She used to have a chiuaua called Angostura, as much after the dog's personality disorder as her favourite bitter flavouring. Personally I think it's nose was put out of joint by the constant commings and goings in the apartment, and Gwendolyn's displays of affection to all and sundry - the dog was just jealous - like many of her suitors, young and old alike!

Serious question here, " When doing any cut-away, is there much rendered totally freehand? Meaning, no straight edges, elliptical templates, etc.." I guess I mean, were there time that you needed to be more artist than technical illustrator? cheers.......Steve

Ah, well, it depends on what you mean by 'rendered'. The working drawing of a car has a great deal of freehand work, but in the examples I've posted the freehand stuff is a bit lost under the later stages of tighter pencil work and then .02 ink line to give me the final drawing. Engines not so much, as I constructed them using a bastard system of my own - unless I re-invented a system that has been used for ever and I didn't know about it! As for the final colour artwork, that was also different for cars and engines, most cars were entirely brushwork, only glazing getting a flick of airbrush, while the engines are the opposite, 95% airbrush and a bit of brushwork - mainly fasteners and hose couplings, etc. So the cars have a lot of freehand work at both stages, but I also used ruling pens to show carbon fibre weave and to edge tubes and whishbones - not all the time, but when I felt that I might screw it up with a brush.

The earlier B&W line drawings were fairly heavily dependent on French curves, straight-edges and ellipse guides, but there was still some freehand inking, and of course, all the stippling, which was frequently taken for a mechanicl tint like Letratone! Ah, stippling, a very satisfying persuit if you are that way inclined...

Bührer also did the M8E, M20 and Porsche 917-10. The Porsche 917K and Ferrari 512S. All the 1972 F1s , all the 73 F1 monocoques/suspensions,all the Ferrari 312 F1s, a series of 1973 F1s complete, the March Alfa 711, Honda RA302 F1I also should have an Indy Eagle somewhere.

Like quite a few drawing-office disciplines, Alan, it has a lot to answer for in the Mental Health records, every MH Unit in an area of significant employment of drawing office staff has a disproportianately large file of cases ranging from the severe to the down-right bizzare.

I can't really remember Aaron. When I moved back to Holland in the late 70s, I had to decide to either get rid ofmy magazine collection, or to tear out the pages I wanted to keep.The Huxley Eagle has therefore survived as a clipping. Looking at the reverse side it must have been from an American magazineThe Indy Eagle by Bührer is from an article in Road&Track Feb '73Also have an Eagle Chevrolet Formula A Road&Track July 1969 by Bührer.The pages still have to be scanned and spliced.

I can't really remember Aaron. When I moved back to Holland in the late 70s, I had to decide to either get rid ofmy magazine collection, or to tear out the pages I wanted to keep.The Huxley Eagle has therefore survived as a clipping. Looking at the reverse side it must have been from an American magazineThe Indy Eagle by Bührer is from an article in Road&Track Feb '73Also have an Eagle Chevrolet Formula A Road&Track July 1969 by Bührer.The pages still have to be scanned and spliced.

Thanks, the Indy Eagle would have been 72 or 73 then and the Formula A I have from 69. Aaron

Working drawing of a Penske spring/damper. It was nice to do the occasional large-scale illustration, you can really get stuck into accurate screw-threads, knurling and surface finish.

It's all too much. Especially when you can find yourself looking at a working drawing for over an hour. Why is a comprehensive review of your lifes work not bound up in a book Tony? One day? I suppose it is a question of ownership etc?

It's all too much. Especially when you can find yourself looking at a working drawing for over an hour. Why is a comprehensive review of your lifes work not bound up in a book Tony? One day? I suppose it is a question of ownership etc?

All the working drawings are my copyright, wp, so theoretically there's no problem - unless someone got iffy about a logo or summat, which could be accomodated - and several finished paintings. I'm sure an arrangement could be reached on most of the rest, but it still has to be a viable, profitable venture, and I'm not in the position to gamble... Thanks for your interest.

All the working drawings are my copyright, wp, so theoretically there's no problem - unless someone got iffy about a logo or summat, which could be accomodated - and several finished paintings. I'm sure an arrangement could be reached on most of the rest, but it still has to be a viable, profitable venture, and I'm not in the position to gamble... Thanks for your interest.

Tony a book has been published on the work of Lawrence Watts which in my humble opinion is not a patch on your work. Also you have the option of self-publication which would mean that you took ALL the profits not a publisher. If you did just a short run to start, say 500, I am sure they would sell.

All the working drawings are my copyright, wp, so theoretically there's no problem - unless someone got iffy about a logo or summat, which could be accomodated - and several finished paintings. I'm sure an arrangement could be reached on most of the rest, but it still has to be a viable, profitable venture, and I'm not in the position to gamble... Thanks for your interest.

There are some publishers out there who are surely missing a trick and probably not doing their job properly. What a funny old world it is! I have never seen anything better than your Williams series. I know you have probably heard it all before Tony but I think a comprehensive, chronological, compilation of your work would probably be one the motorsport books of the decade. It really would be everything to everyone. Ok you can stop cringing now, like I said I know you have heard it all before.

Incidentally, what was the story behind such a specific focus on Penske spring/damper?

Incidentally, what was the story behind such a specific focus on Penske spring/damper?

Simply that I was contacted by Penske Shocks and asked to do a cutaway of the 8760 model, for use in sales literature, etc., and to hang on the foyer wall - not often that the original escaped, but it was part of the deal - and then I was asked to do the 7300 model, same deal. I enjoyed doing large-scale parts as a change from tiny detail that required a very fine brush, an Optivizor and much holding of breath.

Turning 60 soon, thinking back to 16,as useless as thinking how many Guilders something cost which you pay in Euros now.Anyway I always loved Masers and Lambos, especially when my old man paid for them.Wonder if Bruno knew I had a green one way back then ?

Turning 60 soon, thinking back to 16,as useless as thinking how many Guilders something cost which you pay in Euros now.

Sixty doesn't hurt, Marc, or only for a few hours, then you realise you feel just the same! Smart green Masser, but I never understood why the Betti's cut glass, I may have said that before - but why? You can see through it...